It might sound a bit too ambitious to some, but Ivri manages to convert his late-night dreams (and nightmares) into something that is truly creative.. Ivri is shedding quite some light on all of the night’s darkness.

Minimalist, dark (even industrialist) dream pop, if such a thing exists. If not, Farrar just invented it.

With all the moves out of the usual, Nisa still comes up with music that can easily attract the ears of a wider audience weaned on electro-pop.

And instead of everything falling apart at the seams, Cantor creates the counterpoint(s) he seeks here, creating quite a light ray at the end of the dark tunnel.

Quite a heavy theme here, but it is matched with a musical heaviness that does make it a rewarding listen, particularly for fans of all things heavy.

Well, you can’t truly peg down squarely what Curling is doing here, as they successfully throw in musical elements some might thing don’t belong together.

McSpice’s music here is covered in dark colours but it is dark colours that can shed light both on her music and within listeners too.

One of the better electro-pop albums of this year so far.

Colours & Light fulfils that dual task Osborne seems to set out for himself – harking back to some previous musical times and making them as modern as they should be.

It seems that the painstaking, three-year-long process did wonders for the duo, as they have come up with one of the more fresh and stimulating alt-rock albums this year so far.

Throughout it sounds like it might have been created in Joe Meek’s lab back in the sixties and anytime until yesterday, making it somehow quite timeless.

Water and Dreams shifts like any body of water can, and creates some lucid dreams along the way, very listenable avant-garde music, if you will.

The results are like any forest, real or imaginary, both dark and light, but overall intriguing and mesmerising.

The music could range from beat-inflected (in a left-field way) title track or ‘Undersong’ to subtly -orchestrated ‘I see a soul’ to a combination of these and other elements that form an intriguing musical kaleidoscope.

The final result here is a piece of music rich with intricacies and details that make it work to its fullest.

Actually, Tomato Flower has created something quite complex using essentially simple elements, creating at the same time music that is intriguing, daring, and above all, listenable.

The results here are elongated, dubbed-out explorations of a Sufi musical base, making this album one of the more fully realised recent combinations of acoustic/electronic music with field recordings.

Even for such acclaimed and experienced artists it is an achievement to do it all in a single afternoon, improvised session that covers such a wide musical ground.

Kurtz was able to make a coherent musical whole out of all of those influences that he seems to have, something that is utterly listenable, no matter what your stance on aliens, UFOs, and similar phenomena is.

There might be heartless fools around, but Munson is not fooling around with his art pop modern classical combination.

While this mini album clocks at less than twenty minutes, its high-flying, soft-as-cloud sounds are something all those late-night listeners will thoroughly embrace.